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PROTEST
EITHER

^IfeViOlPKTfWlAToN

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Street Addr.
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Number of sets wanted __

[ ] Mail them [ ] Will pick up

A portfolio of peace posters
coming out of the anti-war
demonstrations last May is now
available from KPFA.

The portfolio consists of a dozen
posters: 10 inside and 2 comprising the
front and back covers respectively.
Seven have been reproduced here. Most
are one color printed on a smooth
heavy white paper. They measure 19
inches by \2 l A inches.

The portfolios make excellent
gifts. We will send them to

you or you may pick them up at
KPFA. If you pick them up in person
you save the postage.

ilCTCS

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l^ppA FM94

1VI JL JL V FEBRUARY 1971

KPFA STAFF

Station Manager

Al Silbowitz

Administrative Assistant

Pat Abramovitz

Assistant Manager

Elsa Knight Thompson

Promotion Director

Tom Green

FOLIO Editor

Laurel Coke

Supervising Bookkeeper

Mary Roman

Bookkeeper

Marion Jansen

Subscription Registrar

Marsha Bartlett

Public Affairs Director

Bill Northwood

News Director

Joe Belden

Traffic Clerk

Janice Legnitto

Director of Drama & Literature

Bob Sitton

Drama & Literature Program

Producer
Eleanor Sully
Music Director
Charles Amirkhanian
Music Assistant
Warren Van Orden
Music Program Producer
George Cleve
Public Affairs Program
Producer

Denny Smithson
Program Secretary

Lois Hansen
Production Director

Claude Marks

Production Assistants

Alan Farley

Bob Bergstresser

Paul Fagan

Development Director

Rena Varon Down

Chief Engineer

George Craig

Engineers

Steve Hawes

Wayne Wagner

Don Kaufman

Receptionist

Katie Markham

CONTENTS

COVER: William S. Hart, star of

"Hell's Hinges," a Pacifica
Film Festival selection.

Manager's Report 2

"What, Another Film

Festival?"

Bob Sitton 4

Restaurant Review

Michael & Carol

Barclay 6

Muse Aghast

Charles Amirkhanian 7
Media Monitor

Alan Farley 7

Address by Richard Salant 8
Opera Plot Summary 10

Commentators 1 1

Program Highlights 12

Program Listings 14

Classified Ads 42

"Banquet Bed" - poem

Wade Stevenson 44

KPFA VOLUNTEERS

Hanna Pitkin, News
Herb Childs, Subscription
Terry Clarke, D & L
Bob Douthitt, Computer
Consultant
Jim Emdy , Production
Richard Friedman, Music
Marion Wylie, Reception
Bob Steiner, Calligrapher
Candy Brown, Subscription
Stan Axelrod, Operations
John Maple, D& L
Kathy Kahn, Development
Patti Bittenbender, Operations
Don Barki, Public Affairs
Portia Shapiro, Public Affairs
Paul Rude, News
Bob Morris, Public Affairs
Alan Sherr, News
Joan Churton, Public Affairs
Andria Sagebiel, Reception

1971 Pacifica Foundation

The KPFA Folio
February 1971
Vol. 22, No. 2

Your KPFA Folio can be
re-cycled with your news-
papers by removing the
two center staples.

KPFA KPFB

94.1 FM 89.3 FM

2207 Shattuck Avenue
Berkeley, California 94704
Telephone (415) 848-6767

The KPFA Folio is not sold, it is sent
free to each subscriber to the station.
The Folio is published monthly as a
service to subscribers who support our
nonprofit, noncommercial station at
the annual rate of $24.00 (student and
retired persons annual subscription
rate $12.00 per year). Subscriptions
and donations arp tax deductible.
KPFA is jn the 50% tax deduction
category.

KPFA broadcasts daily until well past
midnight, beginning on weekdays at
7:00 AM and on weekends at 8:00
AM. KPFA broadcasts with a power
of 59,000 watts at 94.1 MHz. KPFB
broadcasts simultaneously with KPFA
at a power of 150 watts at 89.3 MHz
to areas of Berkeley which do not
receive KPFA.

KPFA is owned and operated by
Pacifica Foundation. Pacifica Founda-
tion also owns apd operates WBAI in
New York, KPFK in Los Angeles, and
KPFT in Houston. Pacifica Foundation
was established in 1946 and, is incor-
porated under the laws of California.

REPORT FROM
the MANAGER

In last month's Folio, I
discussed several aspects of
commercial broadcasting.
In particular the way in
which economic pressures
force commerical program-
ming into a sales role,
making programs simply
colorful, enticing vehicles
for commercial products.
At this point, I'd like to
discuss non-commercial or educational broad-
casting.

Non-commercial broadcasting is, indeed, very
different from its commercial relative. Unfor-
tunately, all too often, it is boring as well.

When the FCC first began to regulate the
broadcast field, it happened upon the very
handy device of establishing a reserved portion
of the frequency band for educational and non-
commercial use. An educational ghetto, as it
were. The AM frequencies were far too valuable
and sought after for this purpose, but FM
proved to be sufficiently vacant and experi-
mental so that part of it might be held in
reserve. Non-commercial broadcasters could still
purchase or apply for licenses elsewhere, but
market pressures soon made this extremely
costly, especially on AM radio.

In fact, KPFA itself broadcasts on the non-
reserved portion of the FM band, but Pacifica
obtained this frequency back in the late forties
when FM was still considered a poor commercial
bet. Were we to seek the same frequency today,
it would have to be bought (since there are no
vacancies in this area) and the price might well
be over $500,000. WBAI, which also operates
on a non-reserved frequency, was given to
Pacifica. Its price tag now would probably
exceed $1,000,000.

I point all of this out simply to explain some
of the literal and figurative "distance" which
exists between educational broadcasters and the
mass market. Educational broadcasters were
made to live on a small reservation, in an area
little trafficked by the general population, and
far from the pressures (and advantages) of the
monied crowd. For the most part, their opera-
tions were conducted by academics or academi-
cally oriented persons, since most such stations
were owned by colleges, universities, or similar
governmental entities. Like the Native American,
the educational broadcaster, away from the
mainstream of society, gave up trying to have
any effect upon it and turned inward. The
result was a self-defeating monologue with a
compensating shield of injured pride and in-

difference — certainly, little or no dialogue with
the outside society took place.

The founders of Pacifica chose a different
route. They wished to be very much engaged
with the issues of the day. Instead of institution-
al subsidy, they turned to the public for thier
support. This meant from the start, that they
would have to compete directly with the other
media for operating funds. Pacif ica's connection
with its audience would be immediate and
direct. In this, Pacifica was an important depart-
ure from the rule in educational broadcasting.
It became part of the marketplace when it
pioneered voluntary listener support in broad-
casting and independence in programming in
this country.

However, Pacifica retained many of the
characteristics of the educational broadcaster.
It was revolted by commercialism. It was
satisfied with relatively small audiences. It was
not afriad of "culture." It did not place much
emphasis on professionalism. And it made the
audience work to enjoy the programming.

Very slowly, Pacifica grew, until now it
represents, collectively, the strongest indepen-
dent voice in educational radio broadcasting and,
some would argue, the only really independent
voice in American broadcasting.

[Continued on p. 46]

BOBSITTON

Bob Sitton, Director
of Drama and Litera-
ture and the Pacifica
Film Festival, came
to California from
North Carolina by
way of New York.
He received a Ph. D.
I in Philosophy from
Duke University in
1964, and taught at
The University of
North Carolina, the
New School for Social Research as well as
Brooklyn College. He was active in the civil
rights movement in the South and in 1965
mounted a successful challenge to the New
York state loyalty oath requirement for teach-
ers. He joined the cultural news staff of the
New York Times in 1965 as critic of television
movies. He directed the Special Events division
of the 6th and 7th New York Film Festivals
and the Lincoln Center Film Education Program
until contracting with Simon & Schuster to do a
book on the films of the Maysles Brothers. He
has contributed articles to the Village Voice,
Film Comment, Film Library Quarterly and
other publications, and is the author of two
booklets on the American Film Institute. His
interview series "The Movies" has run on
Pacifica Radio for the past five years.

KPFA FOLIO/FEBRUARY 1971

*# m. Rudolph Valentino and Ellen Terry in "The Conquering Power"

, ♦ at the Pacifica Film Festival. February 25

KPF/1 ISADORA THAN JUST fl FILM FESTIVAL

We're a radio station, too. Listener-supported, non-commercial.
Covering the arts, music, and the changing scene. Free radio.

But to be free, we need your help.

Each subscription to KPFA brings you 12 issues of our program
guide. It lists the variety of programs we present.

If you're not already a subscriber, won't you join us now?

Name

Address

City

Zip

Student/Retired/
Unemployed

Regular

Family

1666-Club membership

Sustaining

] $12 for 1 yr

] $6 for 6 mos

] $24 for 1 yr

] $12 for 6 mos

] $36 for 1 yr

] $5/moior 1 yr

] $100

KPFA ■ 2207 Shattuck Avenue ■ Berkeley 94704

WHAT. ANOTHER FILM FESTIVAL?

By BOB SITTON

Top Hat

After the San Francisco Film Festival and the
Erotic Film Festival and the Berkeley Film
Festival and the Foothill Film Festival, do we
need another film festival? The answer, believe it
or not, is yes. Not the usual kind offered, but
something different. A festival that is not quite
a festival and not quite a repertory film series.
One that laughs at itself and above all gives us a
chance to enjoy the delightfully varied art of
film. Something like — the Pacifica Film Festival.

For twenty weeks, at the M.H. de Young
Museum in Golden Gate Park, every Thursday
evening from February 1 1 to the end of June,
KPFA, the Patrons of Art and Music and the
M.H. de Young Museum Society will present a
festival of films both new and old — comedies,
dramas, rediscoveries believed lost for years,
films by poor people and independent film-
makers, classics of the cinema and some films
never before shown on the West Coast. The
showings are a benefit for KPFA and are open at
a reduced cost to KPFA and de Young Museum
subscribers. A membership card is enclosed with
this Folio.

Given that we need a film festival, what are
we going to see? A lot. The West Coast premiere
of a classic anti-war film made in Hitler's
Germany, confiscated by the Nazis and found
recently in Italy. The second showing since its
original release of one of Rudolph Valentino's
greatest films. The first festival showing since

Intolerance

the thirties of Max Linder's Seven Years' Bad
Luck, a comedy that strongly influenced the
career of Charlie Chaplin. An evening of out-
standing films by West Coast independent film-
makers. Two silent Westerns with the Good-Bad
Man, William S. Hart (piano accompaniment
provided), An evening with Gish and Barthelmess
in D.W. Griffith's Broken Blossoms and Way
Down East. Nine West Coast premieres of films
by American minority group members — young
Black filmmakers, Puerto Ricans, children and a
compelling first film by a member of the Navajo
tribe. A stunning new film from the American
cinema-verite school. An evening of serials and
other "B" movies. And more, including what we
hope will be the first showing since 191 6 of D.
W. Griffith's Intolerance complete with orches-
tral accompaniment.

The festival opens on February 1 1 with No
Man's Land, directed in 1932 by Victor Trivas.
Beginning with a montage of Paris street scenes
that rivals any avant-garde film of the day, the
film movies to the battlefields of World War 1.
An international group of men are huddled
together in a foxhole. As the shells ex-
plode over their heads, they develop an under-
standing of themselves and their relationship to
one another. They realize that war itself, not
man is the enemy. The film's thunderous finale
is accented by Hans Eisler's heroic score.
Memorable, indeed. And a memorial to Victor
Trivas who died this past year.

Seldom has such stunning drama taken place
on an austere, platform stage as in Sir Tyrone
Guthrie's Oedipus Rex, shown in the Pacifica
Film Festival on February 18. The Stratford
Ontario Shakespeare Festival players donned
robes and larger-than-fifesize masks to present a
stylized, dazzling performance of the Oedipus
myth. The Chorus wears strange, rubberized
masksandglovesthat extendtheir fingers, lending
the production a horrific, dreamlike quality.
Douglas Campbell intones his lines in the true
Greek manner as Oedipus. The rest of the cast
does likewise, adding a remarkable blend of
musical art to the considerable dramatic and
filmic strength of the work. The Guthrie
Oedipus is a return to the past that is as
contemporary as today.

Closer to us in time but a visit to the past
nonetheless are the two films of Rudolph
Valentino scheduled for February 25. The Four
Horsemen of the Apocalypse confirmed the
reputation of Rex Ingram as a director, put the
company which produced it, Metro, into the
major class, and established Valentino, then an

unknown actor, as a star. The symbolic sequences
of the four horsemen galloping through clouds
over a battlenorn world were reminiscent of
Griffith's The Birth of a Nation. Large crowd
scenes suggested the best of the German cinema.
The entire blend of exotic settings, dramatic
lighting and striking compositions led critics of
the day to hail the film as a masterpiece. Shown
with it will be Ingram's next film, The Conquering
Power, a pure and atmospheric romance taken
from the Balzac novella, Eugenie Grandet. This
film, long believed lost, was recently found by
the American Film Institute and restored for
preservation at the Library of Congress.

Cinema verite provides a marked contrast to
Ingram's misty cinematography. Among films of
this kind — the camera-as-truth films — one of

KPFA FOLIO/FEBRUARY 1971

the best is Derby, shown on March 4. Robert
Kaylor was asked to make a film about the
Roller Derby. He soon found himself doing
much more. His portrait of a blue-collar
American who seeks a new life as a skating star
is a stunning achievement. Sensitively filming
the most intimate aspects of the young man's
life, Kaylor has produced a profile of contempo-
rary America. Mike Snell, the hero of the film,
is as ordinary as any other working man and yet
harbors an inordinate desire to make his life
more exciting. In the hopelessness of his predica-
ment, in the dead-end option that the Derby
presents, all the frustrations of his and thousands
of other lives become clear. By comparison such
films as Joe seem artificial.

Seven Years' Bad Luck is a forgotten delight
revisited. The masterful French mime. Max
Linder, shows in this hilarious film why he was
considered to be the mentor of Charlie Chaplin.
As a wacky, sophisticated wag, he blunders
through a series of misfortunes and lands,
inevitably, on his feet. This long-lost film will be
recieving its first festival exposure since the
thirties on March 1 1 . Piano accompaniment will
be provided.

San Francisco has become known the world
over as a center for avant-garde filmmaking. On
March 18 the Pacifica Film Festival will feature
a selection of films by West Coast independent
film artists. The selection is culled from five
programs shown at the New York Film Festival.
Works by Jordan Belson, Kenneth Anger, Larry
Jordan, Bruce Baillie, Karen Johnson's award-
winning Orange, computer made films by the
Whitney brothers and others will be shown.
Ranging from the explosive visual assault of
Patrick O'Neil's 7362 to the subdued poetry of
Tung by Bruce Baillie, the program suggests that
a revolutionary breakthrough in avant-garde
filmmaking has been made in California. Not
since the days of Frank Stauffacher and the Art
in Cinema series at the San Francisco Musaam of
Art in 1947 has there been such a ferment in
Bay Area films. This indeed is the world capital
of independent filmmaking and we hope that the
Pacifica Film Festival program will be represen-
tative of the storehouse of talent to be found in
the West.

George Pal was a Hungarian-born refugee who
turned to cartooning in Amsterdam in the
1930's. His innovative touch with animation
earned him a contract with Paramount Pictures,
where he became known as a master of special
effects. In 1950 his Destination Moon won one
of his eight Academy Awards. It was the first
Technicolor science fiction film and remains
today one of the best. John Archer, Warner
Anderson, Tom Powers and Dick Wesson were
the astronauts in a trip to the moon fraught with
danger and heroism; a bit dated, perhaps, but
quite as exciting as Apollo 11 and much less
mechanized. Destination Moon will be shown
with Moon 1969 by Scott Bartlett, a stunning
contemporary variant on space travel.

[Continued on p. 48] 5

RESTAURANT
REVIEW

Michael & Carol
Barclay

ZLATA' KACHNA

("The Golden Duck")

240 Battery Street, San Francisco

Telephone: 434-3072

Hours: 11:30AM - 2:30 PM;

5:30 - 10:00 PM Monday - Friday

(N.B.: The bar is open all day and serves

wonderful snacks and sandwiches.)

Zlata' Kachna is one of the most remarkable
evenings you can spend! An stmosphere of
calm, simple Middle European elegance and
charm pervades the food, service, staff and
decor. Host Milos Stika has designed a unique
menu of perfectly prepared dishes from the
cuisines of Czechoslovakia and her neighbors.
He has thought out every item on the menu,
from a most unusual and enormous cocktail.
The Channel Crossing, to a delightful after-
thought. The Golden Duckling. Both drinks
are creative . . . really! Dinner is easily a two
hour affair because the service is perfectly
paced. Lunches run about $3.00 per. Com-
plete dinners ( appetizer, soup or salad entree,
dessert and coffee) from $5.00 to $9.00 with
the average being $7.50. Everyone we've sent
for dinner has been astonished that this
beautiful experience of food and relaxation
is available at these prices.
We suggest — Appetizers: Domaci pastika, a
magnificent pate served well chilled with a
cherry dressing. This is what all those other
pates you've tried were supposed to be about.
OR Quiche Lorraine, a light before dinner
slice of a very Parisian Quiche OR Shrimp a
la Grace, a huge bed of bay shrimp in a garlic
butter dressing — finally someone hasfigured
out what to do with bay shrimp!
Soup: Each soup available is fine but you
may find the beautifully seasoned Goulash-
suppe a bit heavy with a sea-food entree. A
most unusual Vichysoisse is available.
Salad: Caesar is otherworldly — your host
creates it before your eyes with magic and
love — very light on the anchovies which suits
us both fine! House dressing is lovely, and
salad, rather than soup for you, ff your ap-
petite is gentle.

Entrees: Zlata kachna, Pacena — a dry roasted
Czech duck — it's what this place is famous
for — a most unusual dish but subject to the
vagaries of your individual fowl, because
what you get is DUCK! Golden Duck aux
Cerises Flambe — the most elegant duck

we've encountered - flames, then swims in
brandy and flames again ... da capo.
Cherry sauce is subtle and exciting. This dish
will become a San Francisco landmark.
Golden Oysters Ruedy - this is an oyster
lover's dish for the oysters are simply pre-
sented in a lemony cream, seasoned with
nutmeg on a bed of rice. Ruedy knows about
oysters! Fifteen additional unusual and tradi-
tional dinners are equally considered and
prepared!

Desserts: Mousse - too light, but Mrs. Stika's
cheesecake is the real thing — exquisite.
And have a Golden Duckling if you can still
indulge and ask Milos about its creation. All
this and a slide show too!
This must be your first restaurant of the
New Year!

THE SAVOY-TIVOLI

1434 Grant Avenue, North Beach

San Francisco 362-7023

Hours: Every day. North Beach hours

This palace of camp offers an incredible
decor (which works), a mostly gay bar and a
small number of excellent dinners in the
$3.00 category. The tourist and North Beach
clientele dine in this cavernous musee of
quasi artifacts, potted palms and people. Tin
trees, iron ponds, good service and the best
sweetbreads in North Beach. The frog legs
Dore were turkey sized — three succulent
young legs and three that had jumped too
long, very strange! Paella will suit some and
displease others, very spicy since it features
hot Spanish chorizo sausage and is rather dry
as opposed to soupy — we like it a lot! The
promised mushrooms had vanished from our
last sweetbread saute but the lovely breading
was intact — if you've always wanted to try
sweetbreads this is the place. Excellent daily
soups rival our own Berkeley specials ( at Pot
Luck, for example) and the dinner salads are
quite good. This is not the place for beef,
which is very, very ordinary West Coast beef
— enough said. The Sangria, available four
ways, is the best in town — a large pitcher
is $2.25 and serves four quite nicely. Token
desserts can be overlooked but in toto this is
a really fun place to bring your out-of-town
friends or eat yourself before a Sunday Night
Pippin Concert at the Old Spaghetti Factory
around the corner on Green Street. What-
ever you do, don't try the spaghetti at the
Factory.

MUSE AGHAST

By Charles Amirkhanian

Alois Haba: Nonet No. 1. Op. 40 (1931);

Quartet No. 11, Op. 87 (1958); Quartet

No. 12, Op. 90 (1960); Quartet No. 13,

Op. 92, "Astronautic" (1960)
Czech Nonet; Novak Quartet
*Supraphon SUA 10524

The Moravian composer, Alois Haba (b.
June 21 , 1893), is a pioneer in the use of the
tones perceivable by the human ear which fall
between the notes playable on the piano. As
early as 1923 Haba was a member of the
faculty of the Prague Conservatory, teaching
microtone composition. His harmonic and
melodic theories were put forth in The New
Treatise of the Diatonic, Chromatic, 1/4, 1/3,
1/6and 12-Tone Systems, published in 1927.
As a boy, Haba played violin at festivals in
East Moravia and it was there that the youth
noticed that folk singers employed intervals
unequal to those which were generally
thought proper for use in "serious music."
Suffice it to say that this issue is the most re-
markable collection of Haba's music yet
issued. Performances and sonics combine to
make a very convincing argument for these
works.
Beethoven: Piano Concerto No. 2 in B-flat,

Op. 19; Prokofiev: Piano Concerto No-. 3

in C, Op. 26

Kapell, piano; Golschmann, NBC Sym-
phony; Dorati, Dallas Symphony
Victrola VIC 1520 (Monaural)

These two performances, dating from
1946 and 1949 respectively, feature as piano
soloist William Kapell, whose incredibly
brilliant career was cut short by a plane crash
on October 29, 1953. (He had just turned 31
on that September 20th). This reissue of two
exciting performances is a welcome one and
the sound is extremely good. It makes one
wish that each recording company would pub-
lish lists of recordings lying dormant in their
vaults, but which are not presently commer-
(Continued on p. 43)

4EB14 ZDQnilTOn

By Alan Farley

Public Television (PTV) may not be as
pure as Caesar's wife, in fact a number of
events in recent months cause one to wonder
if it is any more likely than the commercial
networks to be immune from the pressures
of large business interests and the provincial
mentalities of its affiliated stations. While in
the last few years PTV has been making more
sounds like a real network (i.e. interconnec-
tion), it is at the same time falling prey to
some of the worst traps of the commercial
industry.

One example: The pressures of local
stations to not carry controversial material,
witness a recent PBS broadcast of Staggerlee,
an interview with Black Panther leader Bobby
Seale, produced by KQED in San Francisco,
(one of the handful of PTV stations that
have occasionally produced exceptional pro-
grams). Even as edited from its original
presentation on Channel 9, it proved too
much for nearly two-thirds of the PTV
affiliates. To quote from Variety, reporting
the results of a survey of PTV stations:
"The 108 stations (of 171 PTV
affiliates solicited) reported on clear-
ances for three shows, the web's tennis
coverage, a July 30 President Nixon
press conference from California, and
Staggerlee .... Some 74 % of
the reporting stations carried the tennis
matches, 66% carried the Nixon press
conference; 38% carried Bobby Seale."
Variety comments: "The new Public
Broadcasting Service's affiliates are turning
out to be more like their commercial counter-
parts than anyone expected."

Another recent controversy surrounds the
production of a PTV series by consumer
advocate Ralph Nader and the bestowing of a
large grant on PTV by the Mobil Oil
Corporation. While no overt connection has
been shown, there are a number of interesting
coincidences and relationships. Here, at least,
is the sequence of events: The Nader Report
was to have premiered on October 7 with a
tough program on deceptive advertising in
television, and was said by industry sources
to have included a Mobil Oil commercial as
an example of a deceptive ad. Shortly before
the debut date, the start of the series was
postponed for a month, and when it did begin
it started with a tame study of a company
town, not the segment on advertising. It was
rumored that the Mobil commercial would
(Continued on p. 43)

THIS MONTH WE PRESENT ANOTHER ARTICLE IN OUR SERIES ON THE
RELATIONSHIP BETWEEN THE GOVERNMENT AND THE BROADCAST
MEDIA. IN THE PAST MONTHS, WE HAVE PRESENTED THE VIEWS OF
one very outspoken member of the FCC, Nicholas Johnson, and of the National
Association of Broadcasters, as expressed at their recent Regional Conference in
San Francisco.

The following is excerpted from an
an address by Richard S. Salant, President
of CBS News, expressing his views as a
representative of a large commercial
network. The address was presented at a
meeting of the Tennessee Association of
Broadcasters on October 16, 1970 at
Gatlinburg, Tennessee. A complete
reading of this address can be heard on
KPFA at 11:00 PM, on Friday, February
12th.

This surpassingly lovely piece of America is
hardly the ideal place for me to shout warnings
that the British — or even the Feds — are coming.
But as Eric Sevareid said in his Elmer Davis
Memorial Lecture, "Liberties can be defended
only as long as we still have them." And if the
liberties about which I want to talk today are to
be protected, they must be defended as soon as
the first sign of a threat to them appears.

I am persuaded that at least the first signs of
threats have indeed appeared. What I want to do
today is share with you, first, the reasons for my
concern, and second, some general suggestions
of what we might do about it.

Unfortunately, as you will see, my concerns
are more numerous and specific than my pro-
posals for remedies.

In all fairness, it should be said at the outset
that the problems were not created by Vice
President Agnew. The fact is that the relation-
ship between the government and the press has
always been tense and uneasy. Indeed, many
thoughtful students of journalism contend that
the press's primary and most vital function is to
act as an adversary to the government. As an
editor put it a half century ago, "The only way
for a reporter to look at a politician is down."

Over the years, the press has had some very
harsh things to say about presidents of the
United States — and vice versa.

. . . But for the print media - or at least
those whose publishers and editors have spines,
and that is most of them — all this was a game.
It was only a game for the fundamental reason
that the presidents knew, and the publishers,
editors and reporters knew, that there wasn't
really much that the government officials could
do to back up their angry words. Those wars,
with the government on one side and the news-
papers on the other, were between equals.

And there's the rub. Some people are more
equal than others, and so it follows that some
are less equal than others. The albatross which
broadcast journalism must bear is its built-in
inequality. When it comes to broadcast journal-
ism, there's a fundamental change in the rules.
Whether or not the government will do anything
about us, the broodingly omnipresent fact is
that it can.

This is so simply because broadcast journal-
ism is a part of a business which is pervasively
regulated and, above all, licensed — licensed by
appointees of the very government which so
often is in an adversary relationship with us.
And as far as the First Amendment is concerned,
this brutal fact has made us at best second-
class citizens among American journalists. In
what had been a battle between equals, a war of
words, in respect of the new form of journalism
— broadcast journalism — one side, the govern-
ment, had a new weapon — nothing less than
the power of capital punishment over its
adversary.

With that kind of weapon, it takes an
extraordinarily self-restrained governemnt
official not to invoke the presence, at least, of
his life-and-death power over us when he
becomes outraged. And even if he doesn't remind
us of it, it's hard for us to forget that he has it,
and that he just may use it.

KPFA FOLIO/FEBRUARY 1971

. . . Unhappily, the conduct of federal
officials has compounded — even exploited —
this vulnerability which arises out of the fact of
licensing and regulation.

... All this — the practical implications of a
press which struggles to be free under a system
of licensing — was summed up in The Adversaries
a recent book by Professor William L. Rivers of
the Stanford Communications Department and
some of his graduate students in journalism. The
book advances the thesis, which I've already
noted, that the major function of journalism is
as adversary to the government. They wrote that
with the increasing manipulation of the news
media by those in and out of power, it becomes
more imperative than ever for the service of
democracy that the press dig, that it resist the
easy route of serving as conduits, as amplifiers,
as transmission belts for any group. But the
authors conclude that perhaps the most
"inhibiting factor against broadcast journalism
ever playing the role of adversary" is that every
"station in the United States operates at the
sufferance of the federal government." There-
fore, they write:

To understand the atmosphere of
broadcasting, one must imagine news-
papers, book publishers and film
companies as being required to obtain
a federal license before going into
business and to renew it — giving
proof of good public service — every
three years. Such a requirement would
be intolerable and it would be bitterly
resisted as contrary to our concept of
free communication and undoubtedly
in violation of the First Amendment.

... I think I could view all of these
activities, pronouncements and decisions [of
those who would deny the First Amendment to
broadcasters] with greater equanimity if I felt
that the public itself appreciated and demanded
its rights under the First Amendment.

. . . Last spring, we conducted a survey for 60
Minutes on the Bill of Rights, including the
First Amendment which provides "that Con-
gress shall make no law . . . abridging the
freedom of speech or of the press; . . ." We
asked, "Except in time of war, do you think
newspapers, radio and television should have the
right to report any story even if the government
feels it is harmful to our national interest?"
Only 42 percent of the respondents said that
they thought newspapers, radio and television
should have the right to report such stories; a
clear majority — 55 percent — said that they
should not have any such right.

And so we see that a majority of the
American people do not support the First
Amendment when it comes down to specifics.

Well, this has not been a pleasant litany. What
it comes down to is that al though it would be an
exaggeration to say that there is significant

KPFA FOLIO/FEBRUARY 1971

explicit repression of electronic journalism, the
portents are disturbing. It is a towering paradox
that at the very time when surveys tell us people
rely so heavily on electronic journalism for
their news, our freedom to present that news is
most severely under attack.

As I said, the time to defend liberty is while
we still have it. I suggest that the first step in that
defense is for all of us to recognize that there
are dangers and that this excruciating dilemma
presented by the traditions of a free press, on
the one hand, and the antithetical phenomenon
of licensing on the other hand, must be faced
and must be resolved. We have a long, hard
road ahead, but the need to go there is impera-
tive if broadcasting is to fulfill its function as' a
part of the free press. There is no panacea, no
magic solution to solve all our problems, no
easy answers — it is hardly practical to expect
stations suddenly to be granted licenses in
perpetuity. But let me suggest these very
difficult steps.

First, all of us in broadcast journalism — not
only the reporters, the editors, the producers
and the news directors — but also you, the pub-
lishers, the owners and the managers — must do
our level best to follow Elmer Davis' profoundly
simple and profoundly difficult injunction,
"Don't let 'em scare you." Without being defiant
arrogant, or self-righteous , about it, we in
journalism must try to make/news judgments in
the most independent and honest way of which
we are humanly capable, and you in manage-
ment must insist that news judgments be so
based. We must try to achieve the extraordinary
mental feat of putting out of our minds the
presence of that Sword of Damocles called
licensing, which hangs over all our heads. If
newsmen do not tell the truth as they see it
because it might make waves, or if their bosses
decide something should or should not be broad-
cast because of Washington or Main Street
consequences, we have dishonored ourselves and
we have lost the First Amendment by default.

All that is easy to say, but it's mighty hard to
do. It takes an awesome amount of guts — yours,
ours and our stockholders'. But freedom never
inures to those who do not prize it.

Second, all of us must speak out — vigorously
— wherever and whenever we genuinely believe
that we see a threatened erosion of the rights of
any part of the press and any part of broadcast-
ing. We have not always had an impeccable
record on that score. Sometimes, we have not
recognized that freedom is indivisible. We have
tended to sit back and say "Your end of the
boat is sinking." We have sometimes not been
quick enough to speak out when it is somebody's
else's ox being gored. This is tough, because the
cases which are damaging to freedom are often
cases where the print media or the broadcaster
has said things which outrage you and me and
which we believe should never have been printed
or spoken or shown.

(Continued on p. 46)

Opera Plot Summary

THE MAID OF PSKOV
Nikolai Rimsky-Korsakov

Sunday, February 28, 2:00 PM

ACT 1 - Pskov, 1570. In the garden of Prince
Takmakov, girls, the friends of Olga, are playing
games. As night falls, the old nurses, Vlasevna and
Perfilevna, quietly gossip among themselves while
looking after the girls. Olga remains alone, not taking a
part in the games as she longs for her dear one,
Mikhailo Tucha. The girls try to encourage Olga to join
them in the ball game. During this time, Perfilevna
asks Vlasevna whether or not there is any truth in what
people are saying about Olga not being the Prince's
daughter, but of higher social status. Vlasevna quickly
changes the subject. There is news of unrest in
Novgorod as Ivan "The Terrible" has sent his
"Oprichniki" there. Styosha, a friend of Olga's draws
her aside and relates a message from Mikhailo. In the
evening, he will be in the garden to meet her. Only now
Olga happily joins the girls.

Unexpectedly Mikhailo's song is heard and Vlasevna
ushers the remaining girls into the house. Mikhailo
arrives in the garden and explains to Olga that he
wishes to go to Siberia and return to Pskov rich so that
he might ask Prince Tokmakov for Olga's hand. Olga
implores him to remain in Pskov and she promises she
will beg of her father for consent. Olga's father can be
heard talking in the background with Matuta. Mikhailo
quickly leaves while Olga remains sadly amid the bird
-cheery trees and accidently overhears the conversation
of her father and Matuta. It seems Olga has been be-
trothed to Matuta and Prince Yuri wants to make him
aware of a family secret. It appears Olga is not Yuri's
daughter at all. In actuality she was born to Yuri's
sister-in-law, -Vera Shalaga, of an unknown father.
Suddenly the bells can be heard calling the citizens of
Pskov to a council meeting. The Prince and Matuta
leave and Olga slowly emerges from the thicket with
her sould in confusion.

Scene 2 is set in Torgovaya Square at night in Pskov.
A crowd has gathered. A messenger from Novgorod
announces the city has fallen to Ivan the Terrible and
his "Oprichniki." He continues that the "oprichniki"
are on their way to Pskov. Tokmakov suggests the
people greet the Tsar with bread and salt, a tradition
of friendly welcome among the Slavic people. Mikhailo
steps forward, proposing the people of Pskov should
remain independent. A segment of Pskov's populace
joins him as they leave for the nearby forest. The song
of the Pskov freedom fighters can be heard over the
bells calling the council to an end as the rest of the
crowd disperses.

ACT II - The first scene of Act II is set on a square in.
front of Prince Tokmakov's tower. A crowd of people,
gathers where tables have been assembled upon
Tokmakov's advice to greet Ivan the Terrible with,
the traditional bread and salt. However, these pre-
parations are not being made with great enthusiasm
and the people of Pskov are filled with oppressive
expectations. As the entourage of Ivan comes closer to
the city, the Square becomes absolutely empty.
Olga and Vlasevna are on the porch of the tower. Olga
is still befuddled over the unexpected conversation of
Tokmakov, heard the previous evening. She recalls
sadly when she was a child visiting her real mother.'s
grave, not realising who she was. Being aware of the
match between Olga and Matuta, Vlasevna tries to
console her but Olga doesn't want to listen to her. Alas
Ivan the Terrible arrives with the "oprichniki" as the
scene closes.

Scene 2 is set in the Tokmakov home, where the Tsar is
being received. Olga, Styosha, Vlasevna and servant
girls emerge from the passages with trays containing
a large variety of food. Raising her eyes, Olga carries a
cup of drink to Ivan. Ivan and Tokmakov exchange
toasts. Soon Ivan the Terrible recognizes certain
characteristics about Olga that remind him of Vera
Shalaga, Olga's mother. Kissing Olga, Ivan gives her a
ring and suggests that she visit Moscow. The Tsar asks
of Vera, realizing that Olga is his daughter. Tokmakov
does not conceal the truth in explaining the fate of
Vera Shalaga. Ivan is quite touched and shows deep
emotion as the act closes.

ACT III — In the first scene, people line the road in
the deep forest on the way to Pechersky Monastery.
As night falls chanting can be heard. Girls come to the
forest on a pilgrimage. A short while later, Olga emerges
from the group. She waits for Mikhailo Tucha who
suddenly overtakes her. She attempts to persuade him
to return to Pskov but he flatly refuses. Hb asks Olga
to remain with him for a free and carefree life. As she
now knows Prince Yuri is not her real father, she
agrees to stay with Mikhailo, since there is nothing to
go back to in Pskov. Suddenly out of the forest comes
Matuta with a contingent of servants. In the skirmish,
Mikhailo is wounded and left unconscious. As the
curtain falls, the servants drag Olga off with them.

Scene 2 is set on a river bank on a moonlit night. The
Tsar's entourage has camped here for the night. All are
asleep save Ivan, who remembers his meeting in this
same forest with Vera Shalaga many years previously.
Ivan's thoughts are interrupted by the "oprichniki"
who have captured Matuta and the kidnapped Olga.
Despite Ivan's anger, Matuta demands the center of
attention. He tells the Tsar he captured Olga during a
rendezvous with the chief opponent of the Tsar,
Mikhailo Tucha. Ivan orders that Olga be brought in.
She drops to the Tsar's feet, imploring that she be
freed from Matuta's encroachment and that Mikhailo
be pardoned. With trusting frankness she tells Ivan that
when she was a child she was accustomed to repeating
the following prayer: "Gospodi, pomilui otsa i Gosudar
moyevo!" Noise and shouts interrupt their con-
versation. From the outside the voice of Mikhailo can
be heard. He has come with a detachment of freedom
fighters to free Olga. Angered by the impudent attack,
Ivan orders that all the freedom fighters be shot except
Mikhailo, whom he wants brought to him. Olga wishes
to run from the tent but Ivan holds her back. All the
freeman are killed save Mikhailo who manages to
escape. His words of farewell to Olga are carried by the
wind. In a fit of courage, Olga flees from the tent and
is struck by a stray bullet. One of the Tsar's friends
slowly brings back Olga's body to the tent and places
it on a carpet. Ivan the Terrible, terrified, bows over
her, not being able to believe his eyes. Olga, his
daughter, is dead!

The area is soon surrounded with the citizens of Pskov
mourning over the fallen freemen and Olga's death. As
the curtain falls the people chant for the cessation of
this bloodshed in the name of the unification of the
Russian land.

BS3SSSSS3SSSS

KPFA FOLIO/FEBRUARY 1971

Commentators/February 71

Monday 1

MIKECULBERT

Executive Editor
of the Berkeley
Gazette

Tuesday 2

PETER SHAPIRO

Member of the Joe
Hill Caucus of SDS
at S.F. State

Wednesday 3

SYLVIA M.SIEGEL

Executive Director,
Association of
California Consumers

Thursday 4

DENNIS ALLEN

Peace Education
Secretary, American
Friends Service Com-
mittee of N. California

Friday 5

DICKMEISTER

Labor writer

Saturday 6

FATHER EUGENE
BOYLE Chairman,
Commission on Social
Justice, Archdiocese
of San Francisco

Monday 8

TOM HAYDEN

Political activist,
Chicago Conspiracy
defendan t

Tuesday 9

LEWIS SHERMAN

Bay Area attorney

Wednesday 10

CYSCHOENFIELD

Director of Student
Research Facility,

Thursday 11

SIDNEY ROGER

Journalist specializing
in labor affairs

Friday 12

BRUCE FRANKLIN

From the Central
Committee of the
Revolutionary Union

Saturday 13

To Be Announced

Monday 15

MIKECULBERT

Executive Editor
of the Berkeley
Gazette

Tuesday 16

BOB FITCH

Freelance writer

Wednesday 17

CYSCHOENFIELD

Director of Student
Research Facility,
Berkeley

Thursday 18

ROBERT PICKUS

President, World
Without War Council
of the United States

Friday 19

ROBERT TIDEMAN

Director, Henry George
School of Social
Science, S.F.

Saturday 20

HENRY ANDERSON

Freelance social analyst
and writer

Monday 22

HENRY RAMSEY

Richmond attorney

Tuesday 23

DAVID BORTIN

Bay Area attorney
who usually discusses
"law and order"

Wednesday 24

CYSCHOENFIELD

Director of Student
Research Facility,
Berkeley

Thursday 25

HAL & ANNE DRAPER

International Socialists,
active in labor and
political affairs

Friday 26

BRUCE FRANKLIN

From the Central
Committee of the
Revolutionary Union

Saturday 27

STEVE MURDOCK

Writer and commentator
on political affairs

PUBLIC AFFAIRS PROGRAM PRODUCERS

John Hopkins, educational assistant for the Consumer's
Cooperative of Berkeley.

Marve Hyman, chemical engineer and lecturer on pol-
lution control and computer applications.

Richard Lock, former resident and teacher in Japan,
now doing graduate work in Berkeley.

William Mandel, widely recognized authority on the
USSR and contributor to many scholarly works.
Keith Murray, of the Ecology Center

Helga Lohr-Bailey, journalist and writer, who has re-
cently returned after a prolonged stay in the
Eastern European world.

KPFA FOLIO/FEBRUARY 1971

HIGHLIGHTS FEBRUARY

PUBLIC AFFAIRS

VIETCETERA: AND THE WAR GOES ON
The Sunday Night Documentaries —

Sundays at 9:00 PM

7 The Thin Veneer of Cooperation
14 Ten Years of Struggle: programs
21 documenting the history of the N.L.F.

28 The Visit: or, Kys to the City

1 Take-Off Ky: members of the Committee
of Concerned Asian Scholars respond to
the Vice President of South Vietnam

11:15 AM

20 National Veterans' Inquiry into U.S.
War Crimes Policy 7:00 PM

21 Eyewitness Vietnam: A Middle Class
View 8:30 PM

The New Asia: programs from a series sponsored
by the World Affairs Council of Northern Calif.
13 Asia in the Seventies: New Problems —
New Perspectives, Dr. Haydn Williams

5:00 PM

22 The Implications of Indochina,
Dr. Franz Schurmann

11:00 PM
27 A Businessman's View of Asia in the

Seventies, Charles Robinson 9:00 PM

FOUR OTHER SERIES

The 70th Annual E.T. Earl Lectures, recorded

at programs sponsored by the Pacific School of

Religion

I. Prof. Paul Lehmann of Union Theological
Seminary, "New Testament Paradigms of
Revolutionary Action" 19, 22, 23

11:45 AM

II. Prof. Martin Marty, "The Moment Between
Two World Views" 25, 26 .(March 1)

11:45 AM
Alternative Education in the Bay Area: six
programs produced by KPFA volunteer
Bob Morris

& 8:00 PM

(IS

15
16
16

THERE ANY) JUSTICE IN AMERICA?

Bending Over Backwards: The Justice
Department on Tour 11:00 PM

The Legalization of Marijuana,
Prof. John Kaplan 11:00 PM

Law and Law and Order 11:00 PM

Law and Order in the Seventies 12:45 PM
Who Controls the Police? 9:30 PM

RADICAL PERSPECTIVES

4 An Interview with Jennifer Dohrn

10:00 PM
9 William Hinton: The Cultural Revolution
in China 10:00 PM

13 Huey Newton at Oakland Technical

High School 10:30 PM

24 Revolutionary History: A Black Panther's
View of America's Past 8:00 PM

24 Harry Magdoff : The Age of

Imperialism 10:45 PM

ENVIRONMENTAL FOCUS

Public Lands - One-Third of a Nation:
four programs from the Western Regional
Conference on the Report of the Public
Land Law Commission

4 Saturdays 6, 13,20,27

1:30 PM

12 The Fallacy of Connecting "Over-
population" with Misery 11:15 AM
27 Rape at Black Mesa 11:15 AM

6 11:30AM

11 9:30 PM

20 11:15 AM

21 1:00 PM

& 8:00 PM

THE WAYLESS WAY: A Meditation Being
with Jack Gariss

moves to Sundays at 10:00 AM

SPECTRUM, from Carlos Hagen at KPFK
Thursdays at 11:00PM

DRAMA & LITERATURE

ON FILM

The Pacifica Film Festival. A program on
KPFA's film fistival, which open tomorrow
for a five-month run at the M.H. de Young
Museum

February 10, 8:00 PM
Richard Rush, Director. Alan Farley and
Margo Skinner talk with the director
of Getting Straight.
February 9, 9:00 PM

Before You Trust in Critics. Joseph
Morgenstern of Newsweek and
Stephen Kanfer of Time discuss
their role as critics.
February 7, 1:00 PM
February 23,9:00 PM
Feinstein and Fonda. Herbert Feinstein talks
with actor Henry Fonda.
February 2, 11:30 PM

PROGRAM HIGHLIGHTS

ON THEATER

A Visit With Noel Coward. George Cleve
presents a selection of songs and theater
pieces of Noel Coward.
February 4, 9:00 PM

Lee Strasberg and the New York Actor's
Studio. Bob Adler talks with the noted
director and teacher about his work.
February 14, 21, 28, 7:00 PM

On Stage: In a Lighter Vain

Friday evenings at
9:00 PM

She Stoops to Conquer

by Oliver Goldsmith

February 5
The School for Scandal

by R.B. Sheridan

February 12

Caesar and Cleopatra
by G.B. Shaw
February 19

The Importance of Being Ernest
by Oscar Wilde

February 26

ON LITERATURE

"Biafra Goodbye." An interview with

Herbert Gold, author of Biafra

Goodbye.

February 25,9:00 PM
David Gitin introduces a reading

of poems by William Carlos Williams.

February 15, 10:00 PM

Morning Reading, Weekday mornings at 10:45
The Anything Box, read by Bill Cavness.

ON DANCE

Baird Searles talks with Ann Hutchinson
about dance notation.
Fabruary 9, 11:30 AM

MUSIC

1 KAREL HUSA

1 WORLD EAR PROJECT

2 NEW MUSIC ENSEMBLE

4 GEORGE CLEVE PRESENTS
NOEL COWARD

4 ELLYAMELING

8 YOUNG POLISH COMPOSERS

10 WHIMPERING DISC JOCKEY

12 ALAN HOVHANESS

13 AN EVENING WITH

DONALD PIPPIN

14 QUADRAPHONIC: INCREDIBLE

STRING BAND

14 SEVEN AGES OF JAZZ

WITH ELWOOD

15 KOUSSEVITZKY

15 KURPINSKI

16 ART TATUM

19 SCHOENBERG'S CHORAL MUSIC

21 QUADRAPHONIC: OAKLAND

SYMPHONY

22 NADEZHDA ANDREIEVA

OBUKHOVA

23 DOROTHY KIRSTEN SPECIAL

27 PACI FICA CHAMBER PLAYERS -

LIVE

28 QUADRAPHONIC: JOY OF

COOKING

coon^>3Ld

7:00

KPFA NEWS

Rebroadcast of last night's news.

7:30

WEEKLY MONDAY

Charles Shere

8:30

COMMENTARY

Rebroadcast of last Saturday's

commentary by Steve Murdock.

8:45

MORNING CONCERT

Music of Karel Husa

Quartet No. 3 for Strings (1968)

Fine Arts Quartet
Music for Prague ( 1 968)

Revelli, U. Michigan Band
Concerto for Alto Saxophone

and Wind Ensemble (1967)

Rascher, sax.; Husa, Cornell

Wind Ensemble
Symphony No. 1 (1952-3)

Husa, conductor
Husa (b. 1921, Prague) is noted for
his conducting as well as his com-
posing. He currently is on the
Music Faculty of Cornell University.
His Quartet No. 3 was awarded a
Pulitzer Prize in 1969.

10:45

MORNING READING
The Anything Box, an anthology
of science fiction fantasy by Zena
Henderson, author of The People.
The reader is Bill Cavness.
11:15

TAKE-OFF KY

An "event" organized by the Down-
town Peace Coalition at high noon
on Dec. 10 in Zellerbach Plaza in
San Francisco. Using portions of
Ky's speech before the Common-
wealth Club, members of the DPC
and the Committee of Concerned
Asian Scholars "re-create" Ky's ad-
dress — and answer it as they go
along. Businessmen scurried by
throughout.

11:45

THE IV INTERNATIONAL
TCHAIKOVSKY COMPETITION
Third Round

Musical selections performed by
prize-winning contestants in the fi-
nal round of the Competition, which
was held in Moscow during June,
1970. Hosted by Radio Moscow's
Valery Krishkin.

12:45

THE WORLD OF COMICS

Paul Moslander presides in a pro-
gram on comic books held as part
of the 26th World Science Fiction
Conference. KPFA Archives.
1:45

NEWS HEADLINES
& OPEN HOUR

Rebroadcast of last Friday's pro-
gram.
3:00

AFTERNOON CONCERT
with George Cleve
Noted young conductor George
Cleve whose recent successes with
the San Francisco Symphony have
made his name known to Bay Area
audiences presents all of the after-
noon concerts in February. George's
live commentaries have helped all
of us to better understand the classi-
cal music broadcasts since his arrival
one Saturday morning in December.
We hope you enjoy this month of
ad hoc programming in the after-
noons. Your responses welcomed.

WHAT'S HAPPENING*WHAT'S

* 5:00 BRITISH PRESS \

* REVIEW *

* 5:15 CALENDAR OF *

* EVENTS *

* 5:30 CONFRONTATION: *

* WASHINGTON *

* 6:00 COMMENTARY

* Mike Culbert

* 6:15 KPFA NEWS

* 7:00 SOVIET PRESS

* 8« PERIODICALS

* William Mandel

WHAT'S HAPPENING *WHAT'S

Si»%,*§MM%I

7:15

AUDITION/EDITION
With Richard Friedman

-*EAK*RAID*

8:00

OPEN HOUR

Timely public affairs coverage.
9:00

WORLD EAR PROJECT
Transmission VI

More ambient sound recordings
from around the world. Sent to
us by freaks from all over the
world. This program features
sounds from Mozambique, Ivory
Coast, Indonesia and other places.
We are desperate for more tapes
of environmental sounds record-
ed anywhere. Doesn't anyone out
there own a tape recorder?
HELP!
10:00

WRITERS AND WRITING
Bay Area novelists, writers and
poets talk about their writing
and read passages from newly
published work.
11:00

THE THREATENED
ESCALATION OF THE WAR
IN SOUTHEAST ASIA:
Republican Congressman Pete
McCloskey of San Mateo County
speaks to citizens at the First.
Presbyterian Church in Palo Alto
on Dec. 20, 1970.

12:00

AFTERMATH
MODULAR RESONANCE
with John Schneider

Henry Fonda, currently starring in Warner Bros.' "There Was
A Crooked Man . . .," talks with Herb Feinstein tomorrow
evening at 11:30 PM.

8:30 AM

KPFB: LIVE BROADCAST OF

BERKELEY CITY COUNCIL

MEETING

7:00

KPFA NEWS

Rebroadcast of last night's news.

7:45

IN THE MORNING
Paul Fagan
8:30

COMMENTARY
Rebroadcast of last night's com-
mentary by Mike Culbert.
8:45

MORNING CONCERT
Debussy: The Martyrdom

of St. Sebastian

Munch, Boston Symphony

Orchestra

*Victrola VICS 1404 (55)
Hindemith: Nobilissima Vi-

sione; Martinon, Chicago

Symphony Orchestra

"Victor LSC 3004 (26)
Stravinsky: Symphony of

Palms; Stravinsky, CBC

Symphony Orchestra

'Columbia MS 6548 (22)

10:45

MORNING READING

The Anything Box, an anthology
of science fiction fantasy by Zena
Henderson, author of The People.
The reader is Bill Cavness.
11:15

SOVIET PRESS &
PERIODICALS

Rebroadcast of last njght's progran
with William Mandel.

11:30

SINGLE AND PREGNANT

Ruth Pierce, author of Single and
Pregnant, talks with Joan Churton
about her book.
12:00
SOS OR

SAVE OUR SOLDIERS
An organization formed to work
in conjunction with the G.I. "cof-
fee houses" that have sprung up
all over the country. The speakers
on this program are Jane Margolis,
who formerly worked in the Shel-
ter Half, Fort Lewis; David Shulman,
a former active-duty Gl, now work-
ing with SOS in LA; and Paul
Jacobs, well-known writer, journalist
and speaker who is a member of
the Support Committee of SOS.
The moderator is Elsa Knight Thomp-
son.
KPFA FOLIO/FEBRUARY 1971

1:00 9:30

U. C. NOON CONCERT NEW MUSIC ENSEMBLE

Music of the Univ. Associated Stu- CONCERT

dents Choral Organizations, the Glee This ensemble from the San Fran-

Club, the Treble Clef, and the
Chamber Singers. Conducted by
Milton Williams. Recorded 12-2-70
at Hertz Hall, UC, Berkeley. STE-
REO-

1:45

NEWS HEADLINES &

OPEN HOUR

Rebroadcast of last night's program.

3:00

CONCERT OF OPERATIC

RELEASES

With Alan Ulrich of the
Opera Staff.

WHAT'S HAPPENING'WHAT'S

TO BE ANNOUNCED

CALENDAR OF

EVENTS

DRAMA AND

LITERATURE

REVIEW

TO BE ANNOUNCED

COMMENTARY
Peter Shapiro

KPFA NEWS

5:00
5:15

5:30

5:45
6:00

6:15

WHAT'S HAPPENING'WHAT'S

7:00 ELWOOD'S ARCHIVES

Singer Lee Wiley with all star
jazz accompaniments including
Fats Waller, Bunny Berigan
and others. Ca. 1938.

7:30

FILM REVIEW

Margo Skinner

•EJtfrHAID'

8:00

OPEN HOUR

cisco Conservatory of Music is heard
in an Avant-Garde Christmas Con-
cert. Recorded Dec. 3, 1970, at
Hearst Court of the DeYoung Mu-
seum.

Henry Purcell: The Queen's Fu-
neral March and Canzona;
Fan tazia; March ( re pr i se ) ;
Variations for Mr. Purcell
(Orchestrated by Robert
Moran); ensemble conducted
by Howard Hersh
Shin-ichi Matsushita: Subject 17
Ensemble
KPFA Gospel Music sung by the G.L.
Bedford Specials, Richard
Herron, pianist; Justin
Cummins, director
John Cage : Music for Ampli-
fied Toy Piano; electronics
by Ivan Tcherepnin; Robert
Moran, pianist
Henri Pousseur Madrigal 2
ensemble conducted by
Howard Hersh
Erik Satie: Genevieve de
Brabant; soloists, chorus,
instrumental ensemble;
conducted by Howard
Hersh. Orchestration
by Ivan Tcherepnin and
Howard Hersh.
Recorded in STEREO by

George Craig.
11:00

REBUTTAL

Women respond to the sexism that
pervades the media. An "anti-
commercial" written by Roberta
DeBono of the National Organiza-
tion for Women, and Marilyn Brai-
ger's reply to a column by Andrew
Tully that was entitled "Women,
Politics Just Don't Mix."
11:30

FEINSTEIN IN
CZECHOSLOVAKIA: Henry
Fonda

At a film festival in Karlovy Vary
(Carlsbad), CSSR, Herbert Feinstein

Documentaries, discussions and spe- f s.F. State talks to Henry Fonda

cial reports.

9:00

AVANT GARDE WEST

Bob Sitton talks with representa-

about his significant roles on stage
and screen.

12:00

tives of the West Coast avant-garde "INSIDE ON THE OUTSIDE
school of film-making. DeLeon Harrison

7:00

KPFA NEWS

Rebroadcast of last night's news.

7:45

METAPHYSICAL

IN THE MORNING MIX

Jim Emdy

8:30
COMMENTARY

Rebroadcast of last night's com-
mentary by Peter Shapiro.

8:45

MORNING CONCERT

Mozart: Sinfonia Concertante
for Violin and Viola, K. 364
Druian, violio; Skernick,
viola; Szell, Cleveland Orch-
estra
Columbia ML 6025 (31)

Messiaen: Seven Haikai
Loriod, piano; Boulez,
Domaine Musicale Orches-
tra
'Everest 3192 (20)

Gesualdo: Selection of
Madrigals and Keyboard
Music; Biggs, organ;
Rosenstiel, harpsichord;
Craft, conductor
•Columbia KL5718 (39)

Stravinsky: Monumentum
pro Gesualdo di Venosa
Stravinsky, Columbia
Symphony Orchestra
'Columbia KL5718 (7)

*»

11:15

OLAF PALME

Betty Pilkington, WBAI's U.N. Cor-
respondent interviews the Swedish
Prime Minister. (WBAI)

11:45

ON JAPANESE FILM

Barbara Wolf discusses the uncut
version of Kobayashi's horror clas-

sic, Kwaidan.

12:00

U.C. NOON CONCERT -

LIVE

Music for woodwinds, by Mozart
and Beethoven.

1^00

WE THE PEOPLE...

'8:00^

7:00

ODE TO GRAVITY
With Charles Amirkhanian

Bulb. Snit. Atchet. Pimp Overture.
Murr. Whale. Roosevelt Chin. Primp.
Dumb. Scotch. Smumm. Schick.
Snuffle Robot. Ompson. Tewart.

EAWKAID*' I

FOR PEOPLE'S GOVERNMENT

An address delivered by the Honor-
able Kenneth Gibson, Mayor of
Newark, New Jersey, at SCLC's
Thirteenth Annual Convention. May-
or Gibson re-evaluates some of our
historical myths. (MARTIN LU-
THER KING SPEAKS)

1:30

NAKED REASON

British author George Buchanan

reads from his new novel. (BBC)

1:45

NEWS HEADLINES

& OPEN HOUR

Rebroadcast of last night's program.

11:00

McCLOSKY'S
NEW BAG

GOT A BRAN

12:00

CLASSICAL MUSIC AT

MIDNIGHT

Michael Dutko

10:45 3 : °0

MORNING READING AFTERNOON CONCERT

The Anything Box, an anthology Wlth George Cleve
of science fiction fantasy by Zena
Henderson, author of The People.
The reader is Bill Cavness.

WHAT'S HAPPEN I NG # WHAT'§

•